and the cinematography was gorgeous of course

dawnisgone  asked:

kat whAT'S THE HANDMAIDEN

OK OK WE’RE GOING TO LEARN SOMETHING TO DA Y BOYS AND GIRLS AND VARIATIONS THEREAFTER

LET ME DIRECT YOUR ATTENTION TO THE WLW FILM THAT KICKS CAROL OUT OF THE FUCKING WATER

THE HANDMAIDEN IS A KOREAN SUSPENSE/GOTHIC DRAMA FILM DIRECTED BY PARK CHAN-WOOK (YES THE MASTERMIND DIRECTOR BEHIND OLDBOY) ABOUT A SCHEME TO STEAL THE INHERITANCE OF A WEALTHY HEIRESS SET IN 1930S JAPAN OCCUPIED KOREA 

SEE THAT YOUNG GIRL IN THE BLUE AND WHITE HANBOK? GIRL’S NAME IS SOOKEE, A STREET THIEF WHO LEFT HER HOME TO WORK FOR THE GORGEOUS LADY HIDEKO WHO LIVES WITH HER SADISTIC ART COLLECTOR UNCLE IN A STUNNING MANSION OF OPULENCE 

SOOKEE ACTS AS HIDEKO’S HANDMAIDEN, BUT NOT BY COINCIDENCE HELL NO THE YOUNG MAN BESIDES HER IS FUJIWARA WHO IS A “““COUNT””” THAT COMES TO VISIT HIDEKO AND IS SEEMINGLY INFATUATED WITH HER BUT REALLY JUST WANTS TO MARRY HER FOR HER MONEY AND THEN SEND HER TO AN ASYLUM 

FUJIWARA IS SOOKEE’S ACCOMPLICE AND HE’S THE ONE TO PROPOSE OF THE SCHEME AND SOOKEE AGREES TO IT BECAUSE SHE’S BEEN LIVING IN A CRAMPED HOUSE FOR YEARS WITH TOO MANY FAMILY MEMBERS TO COUNT AND TOO MANY CHILDREN TO TAKE CARE OF AND THAT AMOUNT OF MONEY MEANS FREEDOM FROM THAT HELLHOLE

BUT THINGS GET HELLA COMPLICATED WHEN SOOKEE MEETS HIDEKO CAUSE SHE IS

KINDA

REALLY FUCKING GAY FOR HER 

AND THIS IS THE FIRST TIME SOOKEE MEETS HIDEKO I SEE YOU SOOKEE DON’T TRY TO PRETEND YOU AREN’T GONE FOR HER ALREADY

SO AS FUJIWARA TRIES TO WOO HIDEKO SOOKEE MUST STRUGGLE BETWEEN HER AWAKENING SEXUALITY AND HER CHANCE OF FREEDOM FROM POVERTY 

KILL BILL SIRENS GOING OFF IN SOOKEE’S MIND AS SHE SEES FUJIWARA CREEPING ON HIDEKO MMM GIRL YOU AIN’T SLICK 

NOW ONTO HIDEKO HERSELF

OK I CAN’T BLAME SOOKEE FOR FALLING FOR THIS GIRL SHE IS GORGEOUS AF MY BI ASS CANNOT TAKE SUCH BEAUTY ANYWAYS

HIDEKO’S SADISTIC UNCLE MAKES HER PARTICIPATE IN SOME FREAKY SHIT DOWN IN THE BASEMENT AND BASICALLY EXERCISES AN OMNIOUS HAND OVER HER WHOLE LIFE SHE MAY LOOK THE LADY OF THE HOUSE BUT SHE’S REALLY A SLAVE TO THIS DEMONIC MAN 

I WON’T GO MUCH INTO DETAILS HERE CAUSE IT CONTAINS SPOILERS SO I’LL ADDRESS HOW SHE VIEWS SOOKEE

A LOT OF YOU MAY BE THINKING WOW RICH GIRL THAT’S BEEN LIVING A RESERVED AND CONTROLLED LIFE FOR YEARS SHE CAN’T POSSIBLY BE ATTRACTED TO WOMEN 

W R O N G 

HIDEKO IS A GODDAMN LESBIAN WHO HAS SOOKEE IN HER MIND CONSTANTLY

ANYONE WITH EYES CAN SEE SHE IS SUPER UNCOMFORTABLE WHENEVER FUJIWARA ARRIVES AND FINDS HIM OVERBEARING 

”BOY I AIN’T GOT TIME FOR YOUR FAKE ASS COMPLIMENTS SOOKEE’S OVER THERE LOOKING VISIBLY DISTRESSED AND THAT REQUIRES MY IMMEDIATE ATTENTION” 

COMPARE TO THE PHOTO BELOW:

LOOK AT THIS SHIT. LOOK AT HOW SHE GAZES AT SOOKEE MASSAGING HER FEET. THIS GIRL IS NOT EVEN TRYING TO HIDE HER EMOTIONS E N D  M E 

AND AFTER THAT HIDEKO ALLOWS HER TO SLEEP WITH HER IN HER BED WHICH HOLY FUCKING SHIT THAT IS DEFINITELY NOT WHAT A HANDMAIDEN DOES FOR HER LADY UNLESS HER LADY HAS vERy SPECIFIC REASONS

THE MOVIE’S CINEMATOGRAPHY IS INCREDIBLE HONESTLY I DON’T EXPECT ANYTHING LESS FROM A PARK CHAN-WOOK FILM AND THE PLOT IS SO UNIQUE TOO AND HOLY SHIT THE TWISTS WILL MAKE YOUR STOMACH TURN OVER 

BUT HONESTLY HONESTLY THE GAYNESS WAS STRONG IN THIS ONE THIS FILM RADIATED WLW VIBES WITHOUT DEHUMANIZING BOTH HIDEKO AND SOOKEE INTO FETISH SYMBOLS NO THEY ARE INTEGRAL PROTAGONISTS TO THE PLOT AND MAINTAIN THIS AND THEIR CHARACTERISTICS CONSTANTLY SO WATCHING THEM FALL IN LOVE IS SO SATISFYING 

YEAH CAROL MAY TAKE HOME THE TROPHY FOR LIPSTICK LESBIANS AND THE #SOFT WLW THEME BUT DOES IT HAVE A THRILLING VISUAL FEAST OF A LESBIAN WOC COUPLE WHO ARE JUST TWO GIRLS TRYING TO FIGURE THEIR EMOTIONS OUT WHILE FIGHTING AGAINST OPPRESSION I DON’T THINK SO

HEY SOOKEE YOU COULD HAVE USED A PICK TO SEE IF SOMETHING WAS IN HIDEKO’S MOUTH BUT NO YOU USED YOUR WHOLE FINGER ARE YOU TRYING TO MAKE ME LOSE MY SHIT BECAUSE YOU’RE SUCCEEDING 

THEY LITERALLY LOOK LIKE LOVERS STROLLING IN THE PARK AND HIDEKO’S PLAYING THE DESPERATE ONE WHO URGES THE OTHER TO STAY AWAY FROM HER TO KEEP SOOKEE OUT OF DANGER

AND WHAT DOES SOOKEE DO?

CUPS HER LOVER’S FACE IN HER HANDS TO ASSURE HER SHE’S NOT GOING ANYWHERE SOMEONE STAB ME DIRECTLY IN THE HEART

Originally posted by jennyshinvis9

SOOKEE PREPARES HIDEKO FOR A PARTY AND AFTERWARDS TRIES TO LEAVE BUT HIDEKO’S ALL “NAH FUCK THAT YOU’RE GETTING DRESSED BY ME AND YOU’RE GOING TO WEAR MY STUFF AND LOOK STUNNINGLY GORGEOUS OK YOU’RE DONE NOW TURN AROUND SO I CAN HELP YOU UNDRESS” 

C A N  YO U FUcKiN BeLIEVE THESE TWO HIDEKO IS THE ONE REMOVING SOOKEE’S CORSET WHEN IT’S REALLY THE HANDMAIDEN’S JOB TO DO THAT TO THE LADY’S CORSET 

AND OF COURSE SINCE THIS IS THE 1930S, WLW ARE BASICALLY SIN AND VICE SO THESE TWO HAVE TO FIGHT AGAINST WHAT THEY’VE BEEN TAUGHT TO BELIEVE THEIR WHOLE LIVES TO SAY AND BELIEVE THAT THEIR LOVE IS VALID 

SO YES IF YOU LIKE SUSPENSE, GOTHIC ELEMENTS, AMAZING CINEMATOGRAPHY, CLEVER PLOT TWISTS, AND CANON POC WLW BEING DEPICTED AS ACTUAL HUMAN BEINGS IN LOVE INSTEAD OF SEXUALIZED CARICATURES GO WATCH IT

2

The Witch

Sundance winner, The Witch has an extremely creepy trailer. The movie is about a family of  Puritanical Christians who take their five kids and move them to a completely isolated patch of wilderness to live a simple and peaceful life. Of course that’s when all the creepy stuff starts to happen. The movie also does a great job with the gorgeous cinematography. It will be out in 2016.

VIDEO

Top Ten Films of 2014

Last year, I made my first video top ten (which you can see here), and while that was fun, as it so happens I’m a bit too busy right now to go through all the trouble of making a video at the moment. So here we are, back to the old way of doing things.

On an interesting side note, I found an unintentional theme in my list this year. Many of my films are in some way about the creation of art, as well as the price paid to be a great artist. Also, many of these movies could be seen as “coming-of-age” films. Once again I find myself astonished at how many great films came out in a single year (and I haven even seen all of them yet). So as usual, you can find my long list of “honorable mentions” at the end. 

Like always, this is just my personal top ten films of the year. Even if we share the same tastes, I guarantee you that my list would be different than yours. It’s just too subjective.

So starting at number ten and counting down… here we go!





10. Mr. Turner

As far as pure craftsmanship goes, “Mr. Turner” is perhaps the most well made film of the year. Mick Leigh is a master, and every shot is purposeful and completely stunning. The film itself looks like an old beautiful painting. Timothy Spall sinks deep into his role as J.M.W. Turner, and it’s probably his best performance to date. The deliberate pacing and lack of traditional structure might turn away some viewers, but “Mr. Turner” is nevertheless a great work of art, and a portrait of a fascinating man.



9. Frank

I knew very little about this film before seeing it, and I think that’s a good thing. From the opening scene, I instantly fell in love with this darkly funny film. At it’s core, there’s some rather deep subject mater, and yet “Frank” cleverly offsets this with some truly hilarious moments that keep the film entertaining throughout. Domhnall Gleeson is outstanding here, but of course, the real star of the show is Michael Fassbender, who gives an incredibly expressive performance despite the fact that we can’t see his face. I enjoyed nearly every moment of this picture, and it’s definitely one that you need to see.



8. Ida

Some films just belong in the Critrion Collection. Ida is one such film. It’s haunting and artful and features the best black and white photography I’ve seen in years. The sharpness and contrast of every shot is remarkable. The narrative is beautifully simplistic. In fact, the minimalistic nature of the film as a whole is part of what makes it so special. “Ida” is sparse, gorgeous, and masterful. Certainly one of the best foreign films of the year.



7. Only Lovers Left Alive

Vampires are cool, but Tom Hiddleston and Tida Swinton bring it to a whole new level. These old lovers have seen it all, and while they still appreciate art, science, and philosophy, they’ve grown tired and indifferent while mankind continues to make the same mistakes.  Jim Jarmusch’s film is a special kind of vampire story, because it may be the first one to really capture just how lonely, dangerous, and exhausting being immortal really is (or would be).  "Only Lovers Left Alive" has a deliberate pacing that glides slowly along with it’s characters. Along the way, we learn how they live and what they’ve grown to appreciate, and it’s all quiet fascinating. It’s my opinion that “Only Lovers Left Alive” ranks as one of the very best vampire films ever made. 



6. The Grand Budapest Hotel

A Wes Anderson film can always put a smile on my face. His last few films have been some of his best, and “The Grand Budapest Hotel” is certainly no exception. This film is so beautifully stylized, and so hilariously funny, I find it hard to believe that there’s anyone who wouldn’t enjoy this film. The cast is fantastically entertaining (especially Ralph Fiennes), the colors are vibrant, the humor is clever, and the filmmaking is flawless.  When I saw “Moonrise Kingdom”, I said it might be Wes Anderson’s best film yet…. when I saw “The Grand Budapest Hotel”, I said the same thing.



5. The Duke of Burgundy

Captivating and visually arresting, Peter Strickland’s “The Duke of Burgundy” is one of the most compelling films I saw all year. It’s beautifully shot, colored, and textured with elegant pacing and precise direction - I really can’t say enough positive things about this film. It’s surreal and challenging while retaining a soft and gentle nuance of love and tenderness. “The Duke of Burgundy” certainly won’t be everyone’s cup of tea, but I found it extraordinary and deeply inspiring.



4. Boyhood

I know many cinephiles will probably place “Boyhood” as their number one film of the year, and I wouldn’t fault them for that. Richard Linklater’s “Boyhood” is one of the most innovative and uniquely profound films ever made. Shot over the course of 12 years, we literally watch Mason grow up before our eyes. It’s a remarkable experience unparalleled by any comparisons I could make. We owe it to Linklater for having the guts to push our medium forward in such a beautiful way. This will probably win Best Picture at the Oscars, and it’s easy to see why. 



3. Birdman: (or The Unexpected Virtue of Ignorance)

Simply one of my favorite cinematic experiences in a very long time. In the first scene, I made a mental note that we were in a long take, but to my wonder and astonishment, that long take never ended. There are, of course, cuts and interludes (this isn’t a “Russain Ark” situation) but the effect is very much that Alejandro Iñárritu’s film is one singular shot. It’s remarkable, but could be called nothing more than an impressive gimmick if the film itself wasn’t so strong. 

This is the best cast ensemble of the year, and the cinematography is gorgeous (made more impressive again by the long takes). But “Birdman” also has some interesting things to say about the creation of art, as well as the criticism that always accompanies it. It’s an intriguing film, and one with something to say. I loved every minute of it.



2. Vi är Bäst! 

Every year, there are films that just seem to come out of nowhere and surprise me. Before it was released, I knew nothing of “We Are the Best”, nor was I familiar with Lukas Moodysson’s previous work. However, this film was perhaps the most enjoyable film I saw all year.

If you know nothing of this film, it’s the director’s adaptation of his wife’s graphic novel “Never Goodnight” (by Coco Moodysson). It centers around three young teenage girls living in 1980s Stockholm who start a punk band - despite two of them not knowing how to play an instrument. While the band plays an important role in the film, some of the most interesting scenes are when the girls are simply hanging out. The performances from these three young ladies are perhaps the most natural I’ve ever witnessed from anyone their age. At times, it seems that they’re not even acting at all, as if the cameras just happened to be there to catch these authentic moments. These girls are so funny, enduring, and most importantly, real. This film understands what it really means to be a hardcore punk. And that is a rare thing. I really can’t say enough good things about “We are the Best”. You just need to see it.


And my number one film of the year is…



1. Whiplash

This is not the most ambitious film of 2014. It’s not a space epic. It wasn’t shot over twelve years. It doesn’t give the illusion of being one continuous shot. It’s not even by a famous director. Yet, “Whiplash” was the single most thrilling  piece of cinematic art I saw all year.  

“Whiplash” tells the story of a young ambitious drummer who dreams of being one of the great jazz musicians of our time. He soon finds himself under the mentorship of a cutthroat teacher who is willing to do whatever it takes to push his students to the limit. The film shows painful abuse and heartache, but then just when you think the film will find contentment in an obvious solution, it aggressively charges forward into the single most intense, passionate, raw, violent, and beautiful final scene of the year. A scene that made my heart race until it finally cut to black, and the credits rolled. Then, and only then, did I finally catch my breath. This film bleeds with a passion that’s visible in every aspect, from its photography, to its editing, to the stellar performances. Enough can’t be said about Miles Teller and J.K. Simmons. They both give 100% to their roles, and it’s both beautiful and heartbreaking to watch.

I found “Whiplash” to be painfully relatable at times… and I’m sure that contributed to my fondness for the film itself. Nevertheless, I think everyone should see this amazing work of art. Damien Chazelle has crafted a challanging look at what it truly means to be a young artist with high ambitions. The road to greatness is filled with suffering, pain, loss, frustration, blood, sweat, and tears… and it seems the filmmakers here understand the price that is paid. 



So there you have it - My top ten films of 2014. Please let me know what your favorite films were! Now, some of you may have noticed that a certain favorite director of mine not on this list…. so please see my honorable mentions below.



Honorable Mentions 

.

Inherent Vice - I know! I know! I can’t believe it either. P.T. Anderson is my favorite director, and I do love this film…. it just didn’t move me like his other work as done in the past. “Inherent Vice” is great. I just like 10 other films more.

Gone Girl - Yet another one of my favorite directors. David Fincher is to the point where he really doesn’t make bad films anymore. The craftsmanship is just too good.

Calvary - This is a touching and somewhat heartbreaking portrait of a priest genuinely trying to live a good life. A thankless job to be sure. It’s bleak but Brandon Glesson gives a wonderfully tender performance.  

The Babadook - Rich with metaphor, this is easily one of the best horror films in years. Love it so much, and you really need to see it.

Under the Skin - Who could forget this surreal work of art from Jonathan Glazer? Scarlett Johansson does wonderful work here.

Jeune & Jolie - “Young & Beautiful” was an underrated French film from François Ozon. I really loved it a lot, though I might be in the minority.

Snowpiercer - Joon-ho Bong is a crazy good director, and “Snowpiercer” is a thrilling sci-fi action movie far more worthy of your time than most summer blockbusters. 

Top Five - Chris Rock made an excellent film with a deep Woody Allen influence. I really hope he will continue this style into future projects. 

Foxcatcher - A remarkable film. Bennett Miller is on a roll. There’s really nothing to complain about with this film. See it.

The One I Love - A fantastic little gem from Charlie McDowell. Mark Duplass and Elisabeth Moss are great.

The Imitation Game - A very sharp screenplay, and a brilliant performance from Benedict Cumberbatch.

A Most Wanted Man - The last leading performance from my favorite actor. 

Guardians of the Galaxy - Finally, Marvel made their finest MCU film yet. It’s fun and fast and a really great watch. 

Unfortunately I did not get the chance to see “A Most Violent Year”, “Winter Sleep”, “Goodbye to Language 3D”, “Leviathan” and serval other foreign films. I’m sure they all could have made my list if I had seen them. 


My Rating: 9.5/10


     This is it guys, this is the big one. This is the film I’ve been looking forward to seeing the most in 2017. Wonder Woman. Holy shit, Wonder Woman. Not only is this the best DCEU film by far, but it’s also one of the best comic-book films in the genre to date, and an all-around well made movie all together. It earns every bit of praise it’s been getting before it’s release and then some!

     I bet DC’s been on cloud nine ever since these early reviews came in, since their last three films had lukewarm to very, very, very negative critical and fan reaction. I’d say that Wonder Woman’s success couldn’t have come at more crucial time; not just for the DCEU, but for Feminism and how female-led films are perceived in general.

     Wonder Woman (in case you didn’t already know) is making history as the first female-led comic book film that’s also directed by a woman, not to mention the fact that it’s the character’s first solo-film ever made! Only took 75 years and a decade of failed attempts at films and a tv show! (Hear that, Black Widow? There’s still hope for you!)

Keep reading

Swiss Army Man

I will now non-stop praise the new film Swiss Army Man for approximately 1300 words.

Swiss Army Man is about a guy who befriends a corpse which talks to him, has magical powers and helps him survive in the wilderness. It’s a brilliant premise, an idea simple enough to be malleable but unique enough to draw attention. It’s the kind of idea that makes other would-be writers hate themselves for having not come up with it themselves. Or maybe that’s just a personal problem. The dialogue is witty and insightful in equal measure, containing lots of clever in-jokes, callbacks to other pop culture artifacts and sly references to the film itself (like the way the corpse playfully references the film’s title by calling himself the protagonist’s “multi-purpose tool guy”). As it was in The Nice Guys the jokes here can really catch you off guard. The punchlines are never predictable, and their off-kilter nature just makes them land harder most of the time. Overall, this is definitely one of the most original ideas I’ve seen in some time, as well as one of the best scripts I’ve come across this year.

The film revolves around two characters, the alive Hank (Paul Dano) and the dead Manny (Daniel Radcliffe). Both actors are perfectly cast, handling both the script’s comedic and more sentimental moments very effectively. Radcliffe, playing a half-reanimated corpse trying to remember what life was like, has the showier role, and he pulls it off with aplomb, but Dano is every bit as good as the slightly more conventional protagonist. On the surface the film is about the journey these characters undertake on their way back to civilization, but it’s really more about Hank coming to terms with his loneliness and social isolation. Dano sells his emotional transformation beautifully and Radcliffe excels as one of the more likable characters I’ve seen all year. This film would not have worked had the friendship between the characters not felt genuine, but Radcliffe and Dano play off each other so well and the scenes between them are so sweet and heartfelt that you never once doubt their motivations or feelings. These are certainly two of the best performances I’ve seen all year.

Swiss Army Man is the first feature of co-writers/directors Dan Kwan and Daniel Scheinert, or Daniels as they call themselves. It is incredibly self-assured for a debut, handling its many shifts in tone seamlessly and delivering a very cohesive experience. The cinematography by Larkin Seiple is frequently gorgeous and the editing by Matthew Hannam is fresh and inventive. This film has some killer montages, maybe not Rocky IV good but still quite invigorating, and the nimble editing and creative camerawork do much to hold the viewer’s interest and keep them engaged. Of course that’s all just the icing on the cake. With an idea this wonderful and a cast this talented Daniels could have filmed this movie on my cell phone and still emerged with something special.The fact that it’s beautiful and very skillfully composed just makes it that much easier to recommend. The entire crew taken into account, this is some of the finest filmmaking I’ve seen all year.

As for the score, I’m calling it now: this is the best soundtrack of the year. I’m aware that 2016 is only halfway over and if I’m wrong I’ll admit as much, but I’m pretty sure I’m right. At least as far as my tastes are concerned it’s not going to get any better than this. The film’s music, created by Andy Hull and Robert McDowell of Manchester Orchestra, is almost entirely acapella. Now and then they’ll incorporate a drum kit or a keyboard part and the final track centers around an acoustic guitar, but the huge majority of the sounds here are produced by the human voice, and the effect is striking and beautiful. I loved listening to this music so much during the film that when I got home I took a long walk just so I could listen to it again, and even as an album divorced from the film’s images these tracks really hold up for me. In fact, if this movie didn’t exist and Hull and McDowell had released this record as a standalone side project I would have thought they were lunatics but I would have still really enjoyed it. Most of the songs are brief and wordless, but the few that have lyrics like Montage and River Rocket are even more powerful. I would give anything to tune into the Oscar telecast next year and see Andy Hull singing A Better Way, but I know that won’t happen. If Eddie Vedder couldn’t get a nomination for his more traditional work on Into the Wild I don’t think Hull has much hope with material this odd. However, to my ears this is the finest film music I’ve heard all year.

With a film as unique as this it’s no surprise that attitudes toward it have been divisive. There were a decent amount of walkouts during its Sundance premiere and it currently holds a 65% on Rotten Tomatoes. Go through those negative reviews and about ¾ths of them will at least partially be about farts. Yes, this film has farts. You know what else has farts? Life. In college I took a class on literature of the Romantic period, and one of the major things I took away from that class was the fact that many males of that time believed that upper-class women did not poop. They were too beautiful and proper and composed for that. Then when these noblemen got married they realized to their horror that women did in fact poop and sweat and look different without their makeup on. Look at how far we’ve come. Everybody on Earth farts, and yet we still cannot show farts in a film without it immediately being branded as juvenile and lowbrow and dumb. That this film would dare to not only show people farting but have them talk about the social implications of farting is seen by many critics as reason enough to dismiss it entirely. I do not understand that. So if you disagree with me know this: Manny’s dead body farts. Hank also farts. The characters have an extended conversation about masturbation. Manny gets an erection that Hank uses as a compass. If it’s a dealbreaker for you that the film actually takes time to explore universal and relatable material like this you probably should just skip it. Also you’re kind of ridiculous. How’s the view from your high horse? I hope for your sake it doesn’t fart.

Swiss Army Man is, in my estimation, an astoundingly good movie and I love it a great deal. It’s certainly not for everyone. Nothing this creative ever is. That being said, if you’re looking for a movie with a brilliant premise, an insightful script, wonderful performances, a killer soundtrack and beautiful filmmaking Swiss Army Man might just fit the bill. It works wonderfully as a comedy but it also goes deeper than that, tackling many issues that I’ve rarely (or never) seen addressed on film. More than anything else this script is a skillfully-etched exploration of friendship and social anxiety, and you just might find yourself relating to these characters more than you ever thought you would. In its best moments (which come very often) the film is simultaneously ridiculous and heartbreaking. The jokes are funny and the dramatic moments are potent, but it’s when these two elements come together that the film really takes off. A joke about Hank having Cotton Eye Joe stuck in his head (because it’s always the songs you hate…) morphs into a genuinely touching leitmotif later on, and the film is full of strangely beautiful moments like that. I could give many more examples, but I shouldn’t. Rather than having me describe them you should just experience these moments for yourself. I wouldn’t want to deprive you of that. The film also has a hell of a twist ending, and to its credit it doesn’t rub it in your face. I know some people walk away from this film thinking that certain elements within it didn’t make sense or seem logical. If you felt this way then you didn’t understand the implications of the ending and you should probably watch it again. If farts are a dealbreaker for you then don’t see this film, because as I said before there are a lot of farts. However, if you can get over that (and you really should be able to) Swiss Army Man is a powerful and brave experience unlike anything else you’ve ever seen or probably ever will see and you should definitely give it a try.

My Top 10 Movies of 2014

Due to high amount of requests (from no one), I’ve decided to compile a list of my favourite movies of 2014. Here goes:

1. GONE GIRL

My favourite movie of the year. David Fincher gives us a dark and unnerving look at the dark side of marriage, and also that ALL women are monsters. That last part may not be true, but it has spawned countless discussions on whether the movie was misogynistic or feminist. The ensemble is strong, and Rosamund Pike gives a downright terrifying performance as Amy Dunne. On top of that, it also has an amazing score, gorgeous cinematography, and overall a well-written script. These are the things that no one at the Academy said.

2. THE BABADOOK

Definitely the best horror movie I’ve seen in a long time, and it has quickly become one of my favourite horror movies of all time. It focuses on a human story about an exhausted mother filled with grief and is struggling with her troubled child. Unlike most horror movies nowadays, the horror is secondary and is gradually built up throughout the course of the story, serving as a tool to represent grief, depression, and mental illness. Also, it has no jump scares, which is something modern horror is very fond of, and they are almost never done right. First time writer/ director Jennifer Kent delivers a brilliant piece of filmmaking, as well as introducing the audience the amazing Essie Davis, who gives the best performance I’ve ever seen in a horror movie, and it is a travesty that she is ignored during awards season. 

3. BIRDMAN

Birdman tells the story of a washed up actor with schizophrenia who tries to become relevant again by putting on a Broadway play. I will never understand the Oscar’s decision to not nominate Birdman for Best Editing. The way the movie was edited so that it looks like one continuous long take was masterful, and it is bizarre that the movie did not get recognition for this. Alongside with Gone Girl, this movie features one of the best ensembles of the year. Everyone was excellent. Michael Keaton gave the best performance of his career, Edward Norton effortlessly dives into his role, Emma Stone has never been better, and Naomi Watts is captivating. If only there was a Best Ensemble category.

4. WILD

Wild tells the story of a woman who goes on a hike to cleanse her soul after a series of tragedies in her life.  This movie was a pleasant surprise as I did not expect to love it as much as I did. Some may call it boring, but I find Cheryl’s journey to be extremely compelling, and the way pieces of her life are revealed through flashbacks are very well done. Reese Witherspoon is at her best here. She is touching, soulful, tortured, and there was never a false note in her portrayal. And despite her limited screentime, Laura Dern gave a warm and effective performance and her presence was felt throughout the entire movie. And again, the Academy fucked up by not giving this movie more recognition. 

5. THE SKELETON TWINS

The Skeleton Twins tells the story of estranged twins trying to reconnect after 10 years of not talking to each other. Presented as a dramedy, The Skeleton Twins is bleaker than the trailer suggested, but it still has its fair share of laughs. I love that as an LGBT movie, The Skeleton Twins manages to give Hader’s character layers and complexity and not make his sexuality the only trait that he possesses. This is something that I’ve noticed in lots of LGBT and I love this movie for making Milo someone who is not defined by being gay. Bill Hader and Kristen Wiig give excellent performances, which are elevated by their amazing chemistry. The two play off each other extremely well, and they manage to balance the comedic and dramatic aspects of their characters flawlessly. It is a shame that these 2 have virtually no buzz during the awards season. 

6. SNOWPIERCER

Thoroughly entertaining without a dull moment, Snowpiercer is a welcoming entry to the dystopian sub-genre, only this time it’s on a train. It is superbly directed with several breathtaking action sequences, namely the one with the masked mercenaries and the night vision. Chris Evans gives a strong dramatic acting turn as the leader of the tail section, and Tilda Swinton is a riot and arguably the best part of the movie. 

7. GUARDIANS OF THE GALAXY

Did I choose that particular picture of shirtless Chris Pratt for this? Yes. Why? Who cares, it’s Chris Pratt. I could just post a photo of Chris Pratt for all of these movies and there’s nothing you can do about it. Known as the lovable Andy Dwyre on Parks and Rec, Chris Pratt is Starlord (who?) in this ridiculously entertaining and hilarious movie about a band of misfits who have to save the galaxy and all that jazz. This is by far my favourite Marvel movie, and it is also the funniest. Bradley Cooper is hilarious as Rocket Raccoon and a fan favourite for many. The visuals are gorgeous, the directing is great, and the soundtrack is simply the best.

8. WHIPLASH

Probably the most intense and powerful movie of the year. Whiplash tells the story of a music teacher who will stop at nothing to make a student realize his full potential. The story is simple, yet it keeps me intrigued the entire time. J. K Simmons’ portrayal of a menacing professor is pitch perfect, and Miles Teller plays off him naturally as an ambitious drummer. The last 15 minutes of the movie were pure nail biting and on-the-edge-of-your-seat suspense, and the editing during this sequence is flawless. Since Birdman was snubbed, I hope Whiplash wins for Best Editing.

9. NIGHTCRAWLER

In this slow paced thriller, Jake Gyllenhaal gives a chilling performance as a sociopath who will do anything to get what he wants. Nightcrawler is thoroughly compelling, and the slow burn approach is effective, leading to a truly tense climax that is unpredictable and will keep the audience guessing and glued to the screen.

10. X-MEN: DAYS OF FUTURE PAST

Days of Future Past is my favourite X-Men movie, and not just because they erased the awful trilogy. The movie is dark and has an emotional core to the story. The Sentinels are menacing, ruthless, and frightening. The future sequences are filled with dread and hopelessness, something that Bryan Singer pulls off amazingly well. I enjoy seeing Old Gen and New Gen clashing together, but I would have preferred less Wolverine, or no Wolverine at all (he needs to go away tbh). Despite limited screentime and virtually no lines, I really enjoyed the future mutants and wish we got to know them better. Overall, DOFP is a very solid entry that manages to fix its past mistake and gives the franchise a new exciting direction. 

HONOURABLE MENTIONS:

LILTING: a touching LGBT movie about two souls connecting through grief in spite of language barrier.

22 JUMP STREET: A hilarious follow-up of the successful revival of the TV series with the same name. 

HOW TO TRAIN YOUR DRAGON 2: While not as good as the first one, the sequel is enjoyable, heartwarming,  and remains one of Dreamwork’s best.

CAPTAIN AMERICA: THE WINTER SOLIDER: A welcoming change to the usual Marvel movie. The sequel is a compelling political thriller that follows the corruption of S.H.I.E.L.D. Black Widow gets to shine as her character is given some truly great development. And yes, Chris Evans in white tank top was the only image I could find for this movie. For real.

 

Ok so last semester in my Philosophy class the professor asked if anyone had seen the movie Catch Me If You Can. I was half-asleep because this class was at 8PM, and my reputation as the class Film Buff was on the line. So I said, yes! Of course I had seen it. It’s a classic.

I haven’t ever seen it, I’ve barely even remember the trailer for it.

I WAS able to properly bluff my way through the conversation via pop culture knowledge (read: one time i read an article about the real life Frank Abengale in a magazine once and it drew comparisons and contract to the movie) 

And I also was able to use plenty of vauge ~artistic~ statements that could really apply to any movie like “the cinematography was gorgeous and of course Leo is always a favorite.”

I only just now realized how ironic and beautiful that was, that I was able to bluff my way through pretending I knew about the movie that is all about bluffing and conning people into pretending you know things.

ok but the technical aspects of sense8 are so good??? like the story and acting is astounding of course but the editing and directing and cinematography is just gorgeous. and out of this world? like fuck man

Get Out (2017)

One of the truly great films I’ve seen in 2017. This is gorgeous stuff. A lot of thriller films tend to jump the gun or have disappointing reveals, but this one delivers til the very end. There’s layers of complex meaning here, and if it wasn’t so terrifying to see it alone again, I would. This is the kind of horror that I like to see – the horror of being a victim of a living nightmare, the horror of real-life continuously-perpetuating racism, and the horror of a suburban house. Of course all the psychological details are a plus; I rarely dislike psych-themed stories, and this one puts a good twist to the usual lobotomy fare. Besides, it’s gorgeous music and cinematography; that whole deer thing is great, and I’m grateful that the director/writers decided to go for a happy ending. I feel I would’ve been more unsettled and less satisfied had they decided to go down the original denouement. Would recommend and would DEFINITELY see again. 

So I need to talk about Skam...

So Tumblr just showed me Skam and I’ve been spending the day binge watching a TV show in a language I don’t even speak.
And I REALLY understand the hype. The relationships are so unique and real and adorable and believable! And everything is awesome.

But what I really need to say is: Have you seen that cinematography?!
So as a university student doing film courses, I have so much to appreaciate about this series. The cinematography is gorgeous! The mise en scene (the flair) of the whole thing is modern and real and actually looks like todays school life in Europe. This is so much more authentic then any american production and that makes me so happy.
And the transmedia storytelling, which is why this fandom is so big and so involved and has spread far over the borders of Norway even though we don’t even understand the language, is JUST AMAZING. That kind of storytelling is not easy to accomplish and they are doing an extraordinary job!

So yeah. I’m really fangirling here right now. Such a good series!

anonymous asked:

Pride and Prejudice 1995 vs 2005 ?

I like them both! The 1995 BBC miniseries is undeniably excellent, and it’s detailed and beautifully acted and satisfyingly complete, and of course, Colin Firth.

But the 2005 movie with Keira Knightley and Matthew Macfadyen is the version that owns my heart. The cinematography is gorgeous and the music is amazing. There’s the scene in the gazebo in the rain, of course, but ALSO the scene at the assembly where Lizzie and Darcy are dancing and suddenly they’re the only two people in the room, everyone else has disappeared and all they see is each other, good LORD. That scene blew me completely away the first time I saw it, and it still leaves me a little breathless every time, both the emotion in it and the fact that it exists, that someone had that idea and executed it perfectly. Oh, and the scene where Darcy takes Lizzie’s BARE HAND with his gloveless hand to help her into the carriage and there’s genuine sexual tension!? ARE YOU KIDDING ME WITH THIS?

And as much as I do love Colin Firth, as Darcy and in general, Matthew Macfadyen is my favorite Darcy. The way he plays him, Darcy is proud, yes, but he’s also clearly awkward and uncomfortable around strangers and he loves his sister and his friend Bingley and he looks at Lizzie like she’s the most fascinating, compelling thing he’s ever seen and I just…really, really like his Darcy.

I also really loved how much the Bennets seemed like a family, and the contrast between their private lives, when no one else was around, and their public faces. 

tl; dr: Yes to both the 1995 BBC miniseries Pride and Prejudice, and the 2005 film Pride & Prejudice. And also to the 2004 Bollywood-style modern AU, Bride and Prejudice.

8

30 days of ian and mickey

day one: favourite romantic scene

this was actually incredibly hard to choose.  i ran through a lot of things in my head - when they’re wrestling and mickey says of course we are a couple, or when he comes out at the alibi just to stop ian from leaving, or in 3x12 when they’re spooning and holding hands and then mickey strokes ian’s head.  but this scene, for some reason, still stands out to me.  part of that is probably the gorgeous cinematography - the lights and colours and the slow spin of the camera means that visually, this scene is really unique and memorable.  but also - this was a turning point for them.  mickey has had so much impossibly amazing character development over this season, and i feel like this scene was really representative of that.  this is the first time mickey has a safe space.  this is the first time he realises there are places him and ian can be together without being judged.  kissing in public is a huge fucking deal for mickey, the boy who only one season ago wouldn’t kiss ian at all.  and i feel like without this, those other romantic scenes never would have happened.  this moment opened mickey’s eyes to the fact that there were ways he could be a couple with ian, that maybe he could come out, that he could show affection.  all things he never would have fucking considered not so long ago.  i feel like this moment added such strength to their relationship and really changed the game, for both of them, so really, i had to pick it as my favourite romantic scene.

XF Trailers...The Good, the Bad and The Ugly

The Good:

1. Mulder and Scully look like….Mulder and Scully. Scully’s impeccable, not-a-hair-out-of-place appearance and FBI!Mulder have been missed. Beard!Mulder and MessyBun!Scully from IWTB just didn’t generate the same XF-y feeling. (Side note: And they both look hot. You are dead to me if you don’t agree. J/K ;)

2.) “I’m here.” I don’t know why I find it so romantic that Mulder is calling Scully from the other side of the door. That he doesn’t say “Hello” or “Scully” first. That he is just “here.” How comforting that sounds. How, if I were Scully, I would just want to just curl up and listen to him say, “I’m here” over and over. And the emotion that passes over her face…(sniff)

3.) Skinner: FacialHair!Skinner works for me. And he is not telling Mulder he’s crazy, he is telling him to get off the pot and “do something about it.” Is this a return-to-the-FBI pitch? 

4.) Nothing works better for me than Mulder and Scully in extreme danger, saving the world. Together. The real X-Files is BAACKKKK!

5.) The overall look of the show is absolutely gorgeous. I love the clips we saw, the lighting, the cinematography, the moodiness…just, wow.

6.) I am actually intrigued about the mytharc. These flashbacks (perhaps featuring a young CSM?), the “danger,” the invasion, the fact this may somehow lead Mulder and Scully to William….dang, I never thought I would be this invested in the actual story, but I am. 

7.) Confident, passionate Mulder. No one is convincing a reluctant Hermit!Mulder to drop his newspaper clippings. Mulder is back to “this is my life” and that is the crazy man we know and love.

8.) Of course, the touching is all good. Clearly, the best way to convince Scully of anything is with a little massage (oil and whipped cream to be added in Ep Three). 

9.) Good accessories: guns, flashlights! Special shout out to Mulder’s blue tie and Scully’s way-down button-down as well. 

10.) The shot of the Unremarkable House. That Mulder and Scully are standing outside of it, chatting. Whatever is happening now, this is a home they shared for approx six years as a couple. Pretty sure they had sex on that porch. Wait, that was fanfic…

The Bad: 

1.) I think we’ve had enough of the pencils already. Doesn’t 1013 have anything else to reference besides the fucking ceiling pencils and the poster? Use some fucking imagination guys. This joke is old.

2.) “Don’t Give Up” on the car window. I’m sorry, but this is creepy. Plus, I think the fewer times we are reminded of IWTB, the better. 

3.) “You’re on fire.” Ew. Bad dialogue alert…

The Ugly

1.) CSM’s voice. Let him stay dead, please.